Category Archives: Camera and Lens Reviews
– 20.2 Megapixels on an APS-C CMOS sensor
– Dual DIGIC 6 Image Processors
– 10 frames per second drive speed
– 65-Point All Cross-type Autofocus
Canon began shipping the EOS 7D Mark II in early November 2014 and I was one of the first on the waiting list. I wanted to replace my EOS 7D with another lightweight body that would be my go-to camera for wildlife shooting. I always thought the EOS 1DX was too big and heavy – not to mention expensive.
Truth be known, I was never quite happy with the performance of the 7D, particularly with how it handled low-light conditions. In order to get the quality I wanted and expected, I couldn’t push the ISO above 800 with any confidence. So of all the improvements the upgrade was bringing to the table, I was most interested in how this camera would perform at higher ISO settings. A photo trip to the rain forest of Costa Rica – and later Ecuador and the Galapagos – would give me some answers.
This is a real world review from actual results in the field and is not comprehensive. I’m only covering the features that are important to me. For example, I don’t even discuss video. For a full list of the features and specifications of the EOS 7D Mark II, visit the Canon USA website.
Noise and ISO Performance
This was the most important test in how I would come to evaluate this camera.
First, Canon is guilty of a little exaggeration here. It claims to make high quality images up to 16,000 ISO (give me a break) and it uses several image examples at 16,000 ISO on their website. Second, it’s still not an ideal camera for making “excellent low-light photography” as Canon boasts. No APS-C camera is, for that matter, but it is an improvement over the 7D. Here is my very subjective evaluation:
After pouring over results from the three-week trip, I can say that I am comfortable with results up to 2000 ISO under most conditions. ISO 2500 – 3200 is passable if I expose properly (don’t underexpose, expose to the right) and use minimal noise reduction in post processing. Anything above 4000 is nearly unusable, at least with regard to my standards.
This was a pleasant surprise. Canon advertised the upgraded autofocus system to be just as good as the EOS 1DX. Since I’ve not used the 1DX over any long stretches of time, I couldn’t really compare the two. I will say, however, that the autofocus in the 7D Mark II is a vast improvement over the 7D which was pretty good already. During my trip to Costa Rica, I know I nailed some shots that I would not have gotten with either the 7D or the 5D Mark III.
The image above represents one of those instances: fast action and strong backlighting, a situation where autofocus often has trouble locking onto a subject. In fact, I’ve come to almost expect AF problems in these conditions. With the 7D Mark II, I never missed a single shot during the entire trip because of backlighting. I was duly impressed!
By the way, if you use a lot of tele-extenders, the 7D Mark II can autofocus at f/8 with the center cross-type AF point.
Another upgrade to the 7D Mark II is the AF Area Selection Lever which is built around the Multi-Controller joystick. Now you can easily and quickly change the AF Area Selection mode, such as Single Point, AF Point Expansion, or Zone AF. I find this really handy.
Frames Per Second
10 frames per second! What else is there to say? That is one sexy sound as the camera purrs through dozens of images in just a couple of seconds.
With this rapid frame rate, I could capture several different hummingbird poses and choose the version with the precise wing position I wanted. This is an increase from 8 fps on the original 7D. Now if you think there is only a marginal difference between 8 fps and 10 fps, you are mistaken. This feature is a very nice upgrade.
The buffer has also been expanded with 31 continuous shots in RAW mode and over 1090 in JPEG, another improvement over the 7D classic.
I am infamously hard on my equipment. The 7D Mark II is advertised as being better sealed for moisture and the environment and more robust all the way around. That’s good news for me. In the three weeks in Costa Rica and Ecuador, my camera and I were perpetually wet from both rain and humidity and I never experienced any problems.
It’s not the perfect camera (which one is?) and it’s not even ideal, particularly for low-light conditions. I’ll still defer to full-frame sensors for true low-light photography. But this is a serious upgrade from the original 7D in terms of ISO performance, auto focus capabilities, shooting frame rate, and ruggedness. These upgrades are all important to me so short of buying the 1DX, this is the best Canon DSLR for wildlife photography that has been manufactured to date.
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Before I tell you all about this amazing piece of photographic equipment, let me start by putting your mind at ease. I will not even try convincing you into dropping $12,000 on a lens, especially a $12,000 lens that doesn’t even carry itself, or compose, capture, and process images for you. For the money they’re asking, you would expect at least that and perhaps a few more features to boot.
So you can take a deep breath, relax, and read on without any undue anxiety or pressure. I can’t promise that I won’t make you like the lens, but I do promise not to say you need it. With apologies to Robert Hunter, my job here is only to shed light, not to master.
Canon first announced this lens to the public in February of 2011 and after 2 agonizing years of delays and technical setbacks, it finally came to market earlier this spring. It was well worth the wait. This was Canon’s answer to Nikon’s comparable zoom lens, except Canon not only matched their 200-400mm with constant f/4 maximum aperture, they upped the ante by incorporating an internal 1.4x extender too.
Last month, I brought the new Canon EF 200-400mm f/4L IS USM Extender 1.4X to Bosque del Apache National Wildlife Reserve in New Mexico. Here is my mostly subjective, non-technical review and initial thoughts.
TALE OF THE TAPE
The lens is 14.4 inches (36.6 centimeters) long without the hood and weighs in just a hair under 8 pounds (3.6 kilograms) – twice as long and 5 pounds heavier than the Canon EF 100-400mm f4.5-5.6 USM, in case you thinking about upgrading within that similar focal range. If you are one of these people, you might also want to consider a sturdier tripod and a gimbal head as well. In terms of physical size alone, it compares best to the Canon 500mm f/4L IS II, with the 200-400mm being a pound heavier but an inch shorter.
Since getting my hands on this lens, the question I been asked most often, surprisingly, is whether it is “handholdable.” I suppose it is, but what lens isn’t – if only for extremely short durations of time? For a quick, spontaneous grab shot of Sasquatch, I guess I could say yes. For serious, critically sharp wildlife and sports imagery, I would recommend a good tripod or monopod.
While shooting at Bosque, my new lens and I were somewhat marginalized by the insufferable birder crowd and their phalanx of mammoth 600mm and 800mm super telephotos. I paid them little mind and quietly went about my business as each of the photographers tried their best to steal a furtive glance my way in order to get a better look at this new species of Canon glass. Soon enough, one of the sports walked over and asked if he could check it out, which he dutifully did. After which, in a rather condescending tone, he declared to everyone within earshot that it was “a nice little lens.” I do have to give him some credit for withholding the patronizing pat on my head while uttering it.
My initial impression when I first lifted in from its case? Heavy, solid, stout, like a little fire hydrant.
Internal 1.4x Extender
This new feature is what separates this particular lens from all the others, including the comparable model used by my Nikon brothers and sisters. The built-in 1.4x optical extender expands the focal range as far out as 560mm with a simple flip of a lever. You can almost think of it as two lenses in one: a 200-400mm f/4 and a 280-560mm f/5.6 with an impressive total focal range of 200-560mm without a single lens change (That’s an eye-popping 320-896mm on a Canon APS-C sensor camera!).
The extender lever is substantial and not at all flimsy like I feared it might be. There’s an audible “clunk” when the extender is engaged that is solid and reassuring, unlike most clunking sounds that emanate from expensive, high tech toys. It operates beautifully.
The 200-400mm f/4L offers lightening-quick, smooth, and incredibly accurate autofocus capabilities for Canon EOS cameras. The lens focuses so fast and so effortlessly, that you literally cannot see it happening in the viewfinder. For bird-in-flight shots, I often didn’t know if the results would be in focus or not since the camera and lens locked on and fired simultaneously as well as instantaneously. Not until I reviewed the images shortly afterward was I able to confirm that they all were, in fact, tack sharp. There was no waiting for focus to be confirmed. It just happened without me knowing it!
My test run at Bosque was shot with a Canon 5D MarkIII and Canon 7D. I can only imagine the focusing speed with the venerable 1DX.
Canon claims there are four stops of shake correction incorporated in the Image Stabilization (IS) system of this lens. I can only take them at their word on this since I wouldn’t know how to accurately verify the claim anyway. At any rate, it’s useful to know that this lens has three IS modes: Standard, Panning and Exposure Only.
Standard mode (Mode 1) mitigates vibrations in every direction and is most effective when shooting subjects that aren’t moving very much. Panning mode (Mode 2) corrects vertical or horizontal shake depending on the direction of the panning. For example, when panning horizontally with a moving subject, this lens stabilizes movement vertically and vice versa. Exposure Only mode (Mode 3) corrects camera shake only at the precise moment of exposure so focus tracking is easier. This would be most useful when tracking a very fast or erratically moving subject.
Of course you can choose not to use IS at all and it can be easily disabled at anytime.
This lens uses a 9-blade circular aperture design, which creates soft, dreamy, out-of-focus backgrounds when using large apertures. This effect makes your primary subject seem to jump right off the page – or computer screen, an illusion many wildlife and sport shooters try hard to emulate. This particular claim I can see and verify with my own eyes. It’s downright dreamy.
Aside from the questions about its size and hand holding ability, the next concern on everyone’s mind is lens sharpness. Folks who are super obsessed with sharpness tend to gravitate toward primes anyway so their questions about this telephoto zoom are overtly loaded with suspicion. Now I like sharpness as much as the next guy but I’m not one of those people who toss and turn at night worrying about micro resolution, lines per inch and circles of confusion and the like. Maybe I should, but I don’t.
With that being said however, my 20-plus years of experience gives me a pretty good subjective yet accurate view of image quality and I can say that it’s pretty damned sharp – both with the extender and without. I didn’t test the lens at the smaller apertures (and who would care?) but from f/4 to f/11, it was super sharp from corner to corner at all focal lengths. Don’t trust me? Take a look at the mind blowing MTF charts on Canon’s webpage:
Then again, maybe you should just trust me on this one.
There are four ultra-low dispersion lens elements and one fluorite element that makes chromatic aberrations with this lens almost non-existent. There’s also a fluorine coating on both the front and rear lens surfaces, which is apparently a good thing too.
Like all Canon L-series lenses, the 200-400mm f/4L is impervious to almost any weather Mother Nature can throw at you. It’s moisture and dust resistant, ready for shooting in the harshest of conditions.
At Bosque, I shot in an hour-long, steady downpour one afternoon and after I wiped the lens down with a dry towel, there was no water inside the lens barrel, no condensation, and no fogging up. The same couldn’t be said of the photographer, however.
Is the lens “worth” it? Who the hell knows? It will be worth it to some photographers and certainly not worth it to others. As a professional nature and wildlife photographer, it’s the lens I’ve been waiting on for a long time. It’s the ultimate wildlife lens, period. But I already knew that two years ago before I ever got my hands on it. The only question was whether Canon delivered a clunker or hit a home run with the finished product. It appears to be the latter.
The only other worthwhile alternates to this lens are the 400, 500, and 600mm primes coupled with 1.4x and 2x extenders. But the flexibility of zooming for creative compositions and framing make the 200-400 with internal 1.4X extender a no-brainer for me. Wildlife photography is more than getting the longest focal length and tightest crop possible on an animal. Sometimes you want to fill the frame with the subject and sometimes you want to incorporate some of the environment. Sometimes the subject is too close and you miss opportunities while switching lenses, changing cameras, or adding and removing tele-extenders. This lens solves those problems.
I might be outgunned by the big boys and their 600 and 800mm lenses, but I’ll miss fewer image opportunities and I’ll have more creative compositional options with this lens, which is more than worth the tradeoff for me.
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This super telephoto lens is the long-awaited replacement to the circa 1999 Canon EF 500mm f/4L IS USM classic. Canon, quite frankly, was due for an upgrade on this one and I can happily say that it was well worth the wait. I’ve always believed that the 500mm f/4 telephoto is the perfect compromise between lighter weight (compared to the 600mm f/4) and the reach needed to safely and ethically photograph wildlife and most species of birds.
I recently tested Canon’s new 500mm f/4 lens during a two-week photo trip and workshop I was leading in Katmai National Park in Alaska. The lens was provided to me courtesy of lensrentals.com and my aim was to capture the brown bears of The Last Frontier with this new and improved classic piece of glass.
Lifting it from its box, the Canon EF 500mm f/4L IS II USM is cool, smooth, and deceptively light – it’s 1.5 pounds lighter then the previous version (7.03 vs 8.53). This lighter weight makes for much easier handling, but for anyone not accustomed to working with a super telephoto lens, it can still feel like a beast. Still, Canon managed to significantly reduce the weight of this lens without making much smaller in size.
For all the technical specifications for the Canon EF 500mm f/4 IS II USM, visit the lens specifications page on the Canon USA website.
Now, on to my subjective observations on the performance of the lens. I was using a Canon EOS 7D camera body and found the lens to focus very fast and effortlessly. When comparing the new version to the previous one, I can say that it’s noticeably faster to grab focus, especially when working with moving subjects, as I was much of the time. The IS is more powerful as well. Even before referencing Canon’s lens specs, I picked up on a noticeable difference in IS performance right off. Canon claims there is a 4-stop advantage from IS-ON to IS-OFF, which is twice as much IS assistance over the older version. There are three IS modes on this lens: 1 is for shooting stationary subjects, 2 is for panning in one direction with one axis of stabilization, and 3 is best for tracking moving subjects. I didn’t experiment with the three IS modes and only used Mode 1. I simply didn’t have the foresight – nor the dexterity to change modes on the fly – in knowing when a stationary bear would suddenly start moving and vice versa.
The older version of the Canon 500mm f/4 was known to be famously sharp so I wasn’t sure there could be much of a difference in this department. Well, if it was possible to improve on an already great thing, it appears they’ve done it. Canon claims the lens has “completely redesigned Fluorite optics that deliver sharper images with less chromatic aberration.” I admittedly know nothing about Fluorite but I can report that it’s one of the sharpest, if not THE sharpest lens, with which I have ever photographed.
The image above demonstrates how sharp this lens is, even with a moving subject. Below is a 100 percent crop of the image above.
There was never any need to stop down from f/4 to get sharper results, as is usually the case with telephoto lenses. I could honestly see no improvement at all with my initial test images by stopping down, so I used the lens wide open almost the entire time, unless I needed additional depth of field. The lens appears to have no distortion and no chromatic aberration (must be that Fluorite again). There were several instances while reviewing images when I expected to see some color fringing, like edges of dark trees against a bright sky, where there was done to be found. The nine-blade aperture produced a smooth, pleasant bokeh in the out-of-focus background areas, which is exactly what you want with a super telephoto.
All in all, I liked everything about the lens. It was lighter, faster, and even sharper than the old 500mm f/4 version in addition to a 4-stop IS assist. Wow! The downside? The price tag, of course. As of this writing, the retail price on this lens was in the neighborhood of $10,500 USD. I’d have to sell a boatload of wildlife images to make this a smart business investment. But if wildlife is your thing, and you don’t think of a photography equipment purchase as an “investment,” then this lens has all the traits of a new classic in the making.
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